What is the Tomatometer®?

The Tomatometer rating – based on the published opinions of hundreds of film and
television critics – is a trusted measurement of movie and TV programming quality
for millions of moviegoers. It represents the percentage of professional critic reviews
that are positive for a given film or television show.

From the Critics

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Fresh

The Tomatometer is 60% or higher.

Rotten

The Tomatometer is 59% or lower.

Certified Fresh

Movies and TV shows are Certified Fresh with a steady Tomatometer of 75% or
higher after a set amount of reviews (80 for wide-release movies, 40 for
limited-release movies, 20 for TV shows), including 5 reviews from Top Critics.

Movie Reviews Only

Bruising but elegant, conceptually intricate within a street-realist style, The Salesman asks through its final shots: when we stare at each other, do we see each other, or only ourselves?&dash; Film Comment Magazine - EDIT

The movie is not a wild river but a humid delta of stagnant frustration and stymied movement, so it's all the more impressive that it's such a gripping spectatorial experience.&dash; Nick's Flick Picks - EDIT

For an audience that takes pleasure in the all-too-rare art of faithful adaptations that vivify rather than embalming their sources [...] Asquith's conservative handling is just what the confirmed and secret Bunburyist ordered.&dash; Nick's Flick Picks - EDIT

The Laramie Project is not really about Matthew Shepard but about this question of identification with Matthew, and of identification with the larger community of Laramie that admitted, sustained, eliminated, grieved, and civilly avenged Matthew.&dash; Nick's Flick Picks - EDIT

Sadly, if she was guilty of trying too hard or of trying in the wrong way, Cukor appears totally and uncharacteristically checked out... The Actress exposes the kinds of fraying seams that Cukor was usually so careful to conceal even in tattier projects.&dash; Nick's Flick Picks - EDIT

Tim comes close to reproducing the plot of Doubt, in negative-space fashion. That is, for this go-round, we spend all our time with the uncomprehending kid (if he is uncomprehending?) and his teacher-nurturer-desirer.&dash; Nick's Flick Picks - EDIT

So much goes right in this film version, all without sparking a corresponding bump in my enthusiasm, that it's all the more obvious that I find some foundations of this text perennially problematic.&dash; Nick's Flick Picks - EDIT

"There was no real Peter Sellers"... As a theme, it smells of the tired cop-out, somewhere in the same clubhouse of desiccated phrases as "I love you, but I'm not in love with you" and "In a crazy world, only the mad people are sane."&dash; Nick's Flick Picks - EDIT

I started watching the film by thinking, "They should film more of the comedies," and probably They still should, but I ended by thinking, "They really ought to hire movie directors to make movies."&dash; Nick's Flick Picks - EDIT

A Pre-Code Battle in Seattle... Heroes for Sale is not a perfect film, and not particularly interested in perfection, but really and truly, pretend this isn't a cliché: they don't make 'em like this anymore.&dash; Nick's Flick Picks - EDIT

Stark criticisms are unavoidable, even as I'm forced to admit that the film is one of those wrongly-assembled movies that is built on such an unusual Hollywood premise...that it eventually becomes halfway fascinating.&dash; Nick's Flick Picks - EDIT

A certain polite withholding, even if it masks some firm conviction or desire, seems to be a coin of the realm in Trefeurig, so it may well be apt that Koppel often films in a register very close to this one.&dash; Nick's Flick Picks - EDIT

Merging straight Biblical storytelling with modern gimmicks, Amos Gitai half-succeeds at both... Even when he stutters or flaunts his affectations, you cannot write him off as having nothing to say.&dash; Nick's Flick Picks - EDIT

Ópera do Malandro is way more Love's Labour's Lost than Moulin Rouge!, both in formal execution and in its awkward orientation to World War II. The film means to be ersatz but perhaps not this much.&dash; Nick's Flick Picks - EDIT

Light, scrappy entertainment that flatters everything funky and fresh about Lee, tempting you to forgive what is stunted or abrasive in the film. A major swaying element is his own on-screen persona.&dash; Nick's Flick Picks - EDIT

[Scorsese's] tendency toward hollow showboating has rarely been more in evidence ... Ends as a tolerable but annoyingly atonal exercise made by artists with little if anything on their minds.&dash; Nick's Flick Picks - EDIT

The bracing peaks of image, acting, and narrative architecture handily win the day over a scenario that always feels more like a willfully engineered exercise than a fully plausible reality.&dash; Nick's Flick Picks - EDIT

Love Me Forever or Never may be more committed to its bright, calico surface and its abrupt transitions in focus and tone than it is to the relations between the two people on screen.&dash; Nick's Flick Picks - EDIT

The basic friction between Altman's lightness and Shepard's portentousness serves the movie in rich and ever-expanding ways, and not just because you can't ever predict how the narrative will swerve.&dash; Nick's Flick Picks - EDIT

Why tell this story in such elaborate terms? And why coax Nina just barely out from beneath her mother's thumb, only to pinion her just as harshly underneath Aronofsky's?&dash; Nick's Flick Picks - EDIT

Strangely, Romanek often feels disarmed of exactly these vital organs that might have made him a sturdy, sharp renderer of this story. One senses he's too saddened by the tale he is spinning to take a risk on a demanding image.&dash; Nick's Flick Picks - EDIT

I appreciate Refn for pushing against conventions of rhythm, photography, subject, color, and form, and I don't mind that Valhalla Rising lacks a story so much as I question its reliance on enigmatic hints of some grand, over-arching abstraction.&dash; Nick's Flick Picks - EDIT

Any film that forges as unruly a connection as this one does with its audience deserves some applause, especially when the film belongs to a genre where all too many of its peers come across as rote or as thoughtlessly, remorselessly heartless.&dash; Nick's Flick Picks - EDIT

Not all films that attempt to govern their audiences so strictly, or so overtly advertise their own architectures of form and theme, have nearly the punch that Lebanon does.&dash; Nick's Flick Picks - EDIT

The Square gets plenty of early elements in place to promise something more special than it ultimately becomes... Even a strong first impression can't survive such a flailing resolution.&dash; Nick's Flick Picks - EDIT

Builds a real air of mystery around the captive girl, what she is, what she is or isn't capable of doing, and what we're invited to feel about her or her caretaker-captors... Made with real filmmaking flair.&dash; Nick's Flick Picks - EDIT

Almost every scene in Animal Kingdom includes some shot, some edit or avoidance of edit, some lighting effect, some performance gesture, or some sound element that breaks the scene out of the simplest grooves it might have obeyed.&dash; Nick's Flick Picks - EDIT

A reflective, surprisingly subtle piece about character and about location, when I had expected either a completely anodyne travelogue or a dogmatic, 'Yes'-style disquisition.&dash; Nick's Flick Picks - EDIT

Maren Ade's sophisticated, incisive storytelling relies not on screaming matches but on the leads' marvelous attunement to each other, the ways in which they snag on the barest flickers of intimated feeling in each other's performances.&dash; Nick's Flick Picks - EDIT